|
|
Bradantia Directory 03
Page 03
His landscapes, again, were a synthesis of all landscapes, a grouping of the great truths of light, air, shadow, space. Whatever he turned his hand to was treated with that breadth of view that overlooked the little and grasped the great. He painted many subjects. His earliest work dates from 1627, and is a little hard and sharp in detail and cold in coloring. After 1654 he grew broader in handling and warmer in tone, running to golden browns, and, toward the end of his career, to rather hot tones. His life was embittered by many misfortunes, but these never seem to have affected his art except to deepen it. He painted on to the last, convinced that his own view was the true one, and producing works that rank second to none in the history of painting.
And thus the mystery of life is again repeated. The union of the living, microscopic bodies of the fertilizing principle with the new laid egg is followed by the growth of the two elements into a living creature, able to eat, to breathe, to see, to feel. In some unknown way the atom of fertilizing principle seems to have contained the whole life of the father-frog, for it can give to his sons and daughters any of his peculiarities, either of color, form, motion, or disposition; and the tiny egg seems to have contained the whole life of the mother-frog, and can give to her sons and daughters any of her peculiarities; though, as is true of all inheritance, the tadpoles, as the young frogs are called, share the natures of both parents, inheriting some peculiarities from the father and others from the mother.
|
